Hiroshige: Thirty-Six Views of Mt. Fuji

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Hokusai was known by at least thirty names during his lifetime. While the use of multiple names was a common practice of Japanese artists of the time, his number of pseudonyms exceeds that of any other major Japanese artist. His name changes are so frequent, and so often related to changes in his artistic production and style, that they are used for breaking his life up into periods. [4] Even after his death, exhibitions of his artworks continue to grow. In 2005, Tokyo National Museum held a Hokusai exhibition which had the largest number of visitors of any exhibit there that year. [46] Several paintings from the Tokyo exhibition were also exhibited in the United Kingdom. The British Museum held the first exhibition of Hokusai's later year artworks including 'The Great Wave' in 2017. [47] It depicts Mt Fuji in early autumn when the wind is southerly, and the sky is clear, and the rising sun can turn Mount Fuji red. But it is the differences in the approaches used by these two artists that make the new work so good. I suppose that a photographic re-creation of Hokusai’s portfolio might be interesting. Someone might seek out the locations (or possibly their contemporary equivalents) and produce photographs of the land and cityscapes with Mount Fuji somewhere in the frame. Carelli, Francesco (2018). "Hokusai: beyond the Great Wave". London Journal of Primary Care. 10 (4): 128–129. doi: 10.1080/17571472.2018.1486504. PMC 6074688. PMID 30083250.

The Wave" by Hokusai and "The Jingting Mountains in Autumn" by Shitao". CNDP.fr (in French). Archived from the original on 3 October 2009. The series was produced from c. 1830 to 1832, when Hokusai was in his seventies and at the height of his career, and published by Nishimura Yohachi. [1] [2] Among the prints are three of Hokusai's most famous: The Great Wave off Kanagawa, Fine Wind, Clear Morning, and Thunderstorm Beneath the Summit. [1] The lesser-known Kajikazawa in Kai Province is also considered one of the series' best works. [3] The Thirty-six Views has been described as the artist's "indisputable colour-print masterpiece". [2] History [ edit ] HOKUSAI". Tokyo National Museum. Archived from the original on 6 July 2022 . Retrieved 16 June 2022. Vincent van Gogh, a great admirer of Hokusai, praised the quality of drawing and use of line in The Great Wave off Kanagawa, and wrote it had a "terrifying" emotional impact. [74] French sculptor Camille Claudel's La Vague [ fr] (1897) replaced the boats in Hokusai's The Great Wave off Kanagawa with three women dancing in a circle. [75] In popular culture [ edit ] van Rappard-Boon, Charlotte (1982). Hokusai and his School: Japanese Prints c. 1800–1840 (Catalogue of the Collection of Japanese Prints, Rijksmuseum, Part III). Rijksmuseum, Amsterdam.

a b "Japonism Impressionism Exhibition in Giverny Impressionist Museum 2018". Giverny Museum of Impressionisms. 2018. Archived from the original on 20 February 2020 . Retrieved 21 May 2022.

Katsushika Hokusai (1760 – 1849) began painting at the age of six, and at sixteen, he was apprenticed as an engraver and spent three years learning the trade. The first prints in the series were made with shades of blue ink. [1] After the series was popular, versions of each print with many colors were made. Over one hundred prints were planned, but only forty-six were made. [1] Hokusai's date of birth is unclear, but is often stated as the 23rd day of the 9th month of the 10th year of the Hōreki era (in the old calendar, or 31 October 1760) to an artisan family, in the Katsushika [ja] district of Edo, the capital of the ruling Tokugawa shogunate. [4] His childhood name was Tokitarō. [5] It is believed his father was Nakajima Ise, a mirror-maker for the shōgun. [5] His father never made Hokusai an heir, so it is possible that his mother was a concubine. [4] Hokusai began painting around the age of six, perhaps learning from his father, whose work included the painting of designs around mirrors. [4] The Metropolitan Museum of Art. "Discovering Japanese Art: American Collectors and the Met," February 14 - September 27, 2015. Many modern artists have reinterpreted and adapted the image. Indigenous Australian artist Lin Onus used The Great Wave off Kanagawa as the basis for his 1992 painting Michael and I are just slipping down the pub for a minute. [78] A work named Uprisings by Japanese-American artist Kozyndan is based on the print; the foam of the wave is replaced with rabbits. [79] On computer operating systems designed by Apple Inc., the emoji character for a water wave strongly resembles the wave depicted in the print. [80]

A Tour of Japanese Art

Images: “Ejiri in Suruga Province” via The Metropolitan Museum of Art; “Sazai Hall at the Temple of the Five Hundred Arhats,” via The Metropolitan Museum of Art; “Tatekawa in Honjō” via The Metropolitan Museum of Art; “Under the Wave off Kanagawa,” via The Metropolitan Museum of Art; The Japanese Pavilion at the 1867 Paris World Exposition; “Yoshida on the Tōkaidō,” via The Metropolitan Museum of Art; “Woman Bathing,” via The Metropolitan Museum of Art; “Dancers Practicing at the Barre,” via The Metropolitan Museum of Art; “Public Gardens”; “Almond Blossom,” Van Gogh Museum, Amsterdam; “In the Battle of the Yellow Sea a Sailor onboard Our Japanese Warship Matsushima, on the Verge of Dying, Asked Whether or Not the Enemy Ship Had Been Destroyed,” via The Smithsonian; “Illustration of the Arrival of the Emperor at Shinbashi Station Following a Victory,” via The Metropolitan Museum of Art; “A Sudden Gust of Wind (After Hokusai),” via Tate Museum. The Prints of Japan. Frank A. Turk, October House Inc, 1966, Lib Congress catalog Card no. 66-25524 The Great Wave off Kanagawa". Los Angeles County Museum of Art. Archived from the original on 9 July 2022 . Retrieved 16 June 2022. BBC – A History of the World – Object: Hokusai's "The Great Wave" ". BBC. Archived from the original on 13 May 2021 . Retrieved 20 May 2022.